Olympian Michelle Kwan is no stranger to fancy accouterment: after all, she is a nine-time U.S. national figure skating champion who also has five world championships and two Olympic medals under her belt. But it looks like Kwan can also add a diamond into the mix, as she announced today to People that she's now engaged!
Kwan and her super-impressive boyfriend--the director for strategic planning on the National Security staff at the White House--Clay Pell were vacationing on Block Island (off the coast of Rhode Island) when he popped the big question. Kwan explained how the proposal went down thusly: "It was hot and we were going to go into the water to cool ourselves off a little bit ... I wasn't anticipating going swimming. I said, 'I don't feel comfortable because I don't have my bathing suit on.' He's like, 'No, come on in,' so I said, 'Okay.' "
The couple, who have been together since April 2011, are both professionals in the world of public service. Secretary of State Hillary Clinton recruited Kwan to serve on the Council to Empower Women and Girls Through Sports, as well as her continued work with the State Department as a U.S. public policy envoy. True love, White House-style! Mazels all around!
[Photo Credit: DailyCeleb]
Follow Alicia on Twitter @alicialutes
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Oh, the Emmys. These awards can be so crazy and unpredictable! Haha. Just kidding. That was a joke. The Emmys is sort of like a high school prom — the theme changes slightly every year and there is a different king and queen, but it's always the same party with the same streamers in the same gymnasium. That said, who would ever miss their prom?!
Certainly not me, but it does make discerning who is going to be Prom King and Queen — oh, sorry, Best Actor and Actress — kind of easy. And, just like in high school, the person holding the scepter isn't always the one who is most deserving. So, in anticipation of the Awards on Sunday, Sept. 23, here are my picks for who will win... and who should win. I didn't pick a Miss Congeniality, because we all know it would go to Heather Locklear anyway.
Best Drama Series
Boardwalk Empire
Breaking Bad
Downton Abbey
Game of Thrones
Homeland
Mad Men
Will Win: Breaking Bad: The long reign of Mad Men will probably be coming to an end after four consecutive wins and the Academy will most likely reward this other critic's darling, which has a lot more punch and pizazz that voters usually like. That's what being on meth will do to ya! That is, unless these two AMC shows cannibalize each other's votes and we get another winner.
Should Win: Homeland: What this race really needed was some new blood... and there was no show bloodier than the first season of this Showtime hit. Not only was it twisty and unpredictable, it also had amazing performances and told a story that comments on the world we live in now, even a decade after 9/11.
Best Comedy Series
The Big Bang Theory
Curb Your Enthusiasm
Girls
Modern Family
30 Rock
Veep
Will Win: Modern Family: There is no doubt, this is everyone's favorite comedy. Even Ann Romney likes it! Even as it ages, there is no beating this crowd-pleaser.
Should Win: Girls: I was very skeptical of this HBO comedy when it started and I still can't stand most of the characters that populate Lena Dunham's Brooklyn, but that doesn't mean this show shouldn't be recognized. The season ended up being smart, funny, touching, insightful, and speaking to an audience that is otherwise ignored. This is one of those shows that, looking back, will be hailed as a watershed, and not just because it had a girl running through the streets on crack. Though that does help.
Best Leading Actor in a Drama Series
Hugh Bonneville, Downton Abbey
Steve Buscemi, Boardwalk Empire
Bryan Cranston, Breaking Bad
Michael C. Hall, Dexter
Jon Hamm, Mad Men
Damian Lewis, Homeland
Will Win: Bryan Cranston: He's won every year he's been eligible and with good reason. Walter White is an absolute monster and it takes someone with the skill of Cranston to turn in a nuanced performance without turning him into another hammy version of Scarface. It leaves us all asking, "Malcolm in the where now?"
Should Win: Damian Lewis: Speaking of nuanced monsters, did you catch the range of emotions Lewis had to go through as a POW who may also be a secret terrorist? And he's not even an American. Does he get extra credit for the great Mid-Atlantic accent (and the shirtless scenes)?
Best Leading Actor in a Comedy Series
Alec Baldwin, 30 Rock
Don Cheadle, House of Lies
Louis C.K., Louie
Jon Cryer, Two and a Half Men
Larry David, Curb Your Enthusiasm
Jim Parsons, The Big Bang Theory
Who Will Win: Louis CK: Wow, most of these nominees are staler than the bag of Bugles that fat Betty Draper left under the couch. Mr. CK ('cause he's nasty) is the only one doing anything exciting or original these days. This will be the ultimate consolation prize for his show not winning any other awards.
Who Should Win: None of these other jokers.
Best Leading Actress in a Drama Series
Kathy Bates, Harry's Law
Glenn Close, Damages
Claire Danes, Homeland
Michelle Dockery, Downton Abbey
Julianna Margulies, The Good Wife
Elisabeth Moss, Mad Men
Who Will Win: Claire Danes: Can you say no to Angela Chase, especially with that head of preternaturally shiny hair? (It's so shiny!) But Danes did earn every vote as a trouble plagued CIA analyst who will do anything to stop a man she thinks is a terrorist. Including cussing more than a sailor who stubbed his toe.
Who Should Win: Elisabeth Moss: Another season and another great turn for Peggy Olson, especially with her arc allowing her to come into her own and leave Sterling, Cooper, Draper, Pryce. What does this girl gotta do to win an award?
Best Leading Actress in a Comedy Series
Zooey Deschanel, New Girl
Lena Dunham, Girls
Edie Falco, Nurse Jackie
Tina Fey, 30 Rock
Julia Louis-Dreyfus, Veep
Melissa McCarthy, Mike &amp; Molly
Amy Poehler, Parks &amp; Recreation
Who Will and Should Win: Julia Louis-Dreyfus: The Academy loves to reward a veteran and, as the only Seinfeld survivor to go on to a successful TV career, Louis-Dreyfus is definitely a vet. But it was her turn as this simultaneously harried and charismatic Vice President that makes her actually deserve this award. Her reading a PSA script from a teleprompter was done as a bit to run with the closing credits, but it was one of the funniest minutes of comedy on the air last year.
Best Miniseries or Movie
American Horror Story
Game Change
Hatfields &amp; McCoys
Hemingway &amp; Gellhorn
Luther
Sherlock
Who Will Win: American Horror Story: Ryan Murphy scared the bejesus out of all of us. No, it wasn't because of the frights in this horror story, but because the show did everything a TV show shouldn't do: It had a storyline that only lasted one season, it kill off the leads, and it honed a talented acting troupe for seasons to come. His risk should pay off for the ultimate reward. No, I don't mean he'll be visited by a guy in a gimp suit (though he might like that).
Who Should Win: Hatfields &amp; McCoys: I'm still not entirely convinced that AHS is a miniseries or movie or if it should be competing in the Best Drama category. If it's not a miniseries, then the statue should go to this crowd-pleaser, which not only brought back the genre as we used to know it, but proved it could be a gigantic hit.
Best Leading Actor in a Miniseries or Movie
Woody Harrelson, Game Change
Clive Owen, Hemingway &amp; Gellhorn
Benedict Cumberbatch, Sherlock: A Scandal in Belgravia (Masterpiece)
Idris Elba, Luther
Kevin Costner, Hatfields &amp; McCoys
Bill Paxton, Hatfields &amp; McCoys
Who Will Win: Kevin Costner: The miniseries or movie categories were basically invented so that the Emmys could get movie stars to attend. And it does this with the promise of gold. It probably won't be any different this year than last year when Kate Winslet won.
Who Should Win: Idris Elba: Call it the Revenge of Stringer Bell.
Best Leading Actress in a Miniseries or Movie
Julianne Moore, Game Change
Connie Britton, American Horror Story
Nicole Kidman, Hemingway &amp; Gellhorn
Emma Thompson, The Song of Lunch (Masterpiece)
Ashley Judd, Missing
Who Will and Should Win: Julianne Moore: With four movie stars in this category, poor Connie Britton (who is quite deserving in her own right) doesn't stand a chance. While Kidman may be the bigger star, it's Moore's stunning transformation into Sarah Palin that should rivet voters. We can almost see her winning from our house.
Best Reality Competition
The Amazing Race
Dancing With The Stars
Project Runway
So You Think You Can Dance
Top Chef
The Voice
Who Will Win: Amazing Race: Ugh, again! When will it end?
Who Should Win: Anyone else: Amazing Race has been a snooze since the Bush Administration, but Academy voters don't know any other shows and think an around the world vacation with their significant other sure looks fun. That's why they keep voting for this. Enough! There are plenty of reality shows on TV — choose someone else! I would go with The Voice, for being the only show to shake up the singing competition formula with any real results.
Best Reality Host
Tom Bergeron, Dancing With The Stars
Cat Deeley, So You Think You Can Dance
Phil Keoghan, The Amazing Race
Ryan Seacrest, American Idol
Betty White, Betty White's Off Their Rockers
Who Will Win: Betty White: The Academy thinks she needs one more trophy before her retirement (or something worse). Also, they have absolutely no respect for the reality categories. For shame!
Who Should Win: Cat Deeley: If you do not think this leggy Brit who is as quick with a punchline as she is with a compassionate shoulder for contestants to cry on doesn't deserve to win, then you are an idiot with no eyes. There, I said it. Speaking of no eyes, she also chooses all her own outfits and they are often – how should I put this? – unique. We need her to show up on stage wearing one.
Best Variety Program
The Colbert Report
The Daily Show with Jon Stewart
Jimmy Kimmel Live!
Late Night with Jimmy Fallon
Real Time with Bill Maher
Saturday Night Live
Who Will Win: The Daily Show with Jon Stewart: I just got off the phone with 2018 and it's still going to win then too. Just accept it.
Who Should Win: Late Night with Jimmy Fallon: You have to appreciate the daffy way he creates viral videos with everything from Barack Obama to the Real Housewives franchise. This is a man who knows that the future of the genre is as much on YouTube as it is on the boob tube.
Best Supporting Actor in a Drama Series
Aaron Paul, Breaking Bad
Giancarlo Esposito, Breaking Bad
Brendan Coyle, Downton Abbey
Jim Carter, Downton Abbey
Jared Harris, Mad Men
Peter Dinklage, Game of Thrones
Who Will and Should Win: Giancarlo Esposito: One of the most terrifying villains on television didn't yell and scream and shoot up the place. He took over with quiet determination and a calm exterior that belied a deadly inner life. Esposito's Gus Fring was a study in self-restraint and his end will go down in TV history.
Best Supporting Actress in a Drama Series
Archie Panjabi, The Good Wife
Anna Gunn, Breaking Bad
Maggie Smith, Downton Abbey
Joanne Froggatt, Downton Abbey
Christina Hendricks, Mad Men
Christine Baranski, The Good Wife
Who Will and Should Win: Christina Hendricks: She's long been known for the curves of her body, but this season, it was the curveballs her character threw when she decided to kick out her husband, take her destiny in her own hands, and finally get herself on equal footing with the men (of course, only by making a horrible sacrifice). She's made her portrayal of one of the most complicated women on TV look absolutely easy, so it's about time she had a busty gold lady of her own.
Best Supporting Actor in a Comedy Series
Ed O'Neill, Modern Family
Jesse Tyler Ferguson, Modern Family
Ty Burrell, Modern Family
Eric Stonestreet, Modern Family
Bill Hader, Saturday Night Live
Max Greenfield, New Girl
Who Will Win: Someone from Modern Family: Just pick one. Does it matter. Maybe Ed O'Neill. Is it his turn yet? Fine, then Ty Burrell. Whatever.
Who Should Win: Max Greenfield: It's a hard job stealing a show called The New Girl while having a Y chromosome, but Greenfield's fully-realized Schmidt was the character who audiences really wanted to see, even as they knew he should be stuffing $10s into the douche jar.
Best Supporting Actress in a Comedy Series
Mayim Bialik, The Big Bang Theory
Merritt Wever, Nurse Jackie
Julie Bowen, Modern Family
Kristen Wiig, Saturday Night Live
Sofia Vergara, Modern Family
Kathryn Joosten, Desperate Housewives
Who Will Win: Mayim Bialik: Since the boys will be shut out in the acting category, it looks like good old Blossom's work as one of this show's girl geeks is going to get some deserved attention. But look for a possible Kristen Wiig upset for her final season on SNL.
Who Should Win: Merritt Wever: She's long been the funniest thing on Nurse Jackie and she should finally get some recognition for a character that is just on the right side of wacky and vulnerable when she needs to be. If she doesn't get nominated more often, the Academy is on more drugs than Jackie.
Best Supporting Actress in a Miniseries or Movie
Sarah Paulson, Game Change
Frances Conroy, American Horror Story
Jessica Lange, American Horror Story
Judy Davis, Page Eight (Masterpiece)
Mare Winningham, Hatfields &amp; McCoys
Who Will and Should Win: Jessica Lange: There is no one we'd rather watch chew the scenery and destroy lives with a syrupy southern accent than Ms. Jessica Lange. Also, remember the rule about giving these trophies to movie stars?
Best Supporting Actor in a Miniseries or Movie
Ed Harris, Game Change
Denis O'Hare, American Horror Story
David Strathairn, Hemingway &amp; Gellhorn
Martin Freeman, Sherlock: A Scandal in Belgravia (Masterpiece)
Tom Berenger, Hatfields &amp; McCoys
Who Will Win: Ed Harris: I honestly have no idea on this one, but the fact that Ed Harris has been nominated for an Oscar and is competing in a category for movie stars makes him the best bet. Who Should Win: Denis O'Hare: Between Larry Harvey and his Russell Edgington on True Blood, this hard-working character actor finally deserves to scare up a trophy. Scare up. Get it? Follow Brian Moylan on Twitter @BrianJMoylan [Photo Credit: Wenn] More: 2012 Emmy Awards: See the Full List of Nominees! Emmys 2012: 10 Burning Questions! Emmys 2012: Snubs, Shockers and Surprises!

We are at the dawn of America's political season. And like it or not, this country's politics manifests in the form of an uncompromising dichotomy between the right and the left. The republicans and the democrats. The conservatives and the liberals. The red and the blue. The elephants and the donkeys. And while most of those things are inherently boring and lame, that last one is funny to think about: elephants and donkeys. Fending off against one another in a heated political race. That's classic comedy.
And while some people might be more interested in taking a look at the "issues" each party seems so hell-bent on going on and on about, we'd prefer to devote focus to each party's mascot — thrusting the unassuming land mammals into an all-out battle — assigning some of the most celebrated representatives of each species to a slew of all-important issues in an effort to determine which is truly better suited for the White House. Or whatever equivalent of a White House might exist in a race between cinematic depictions of pachyderms and domesticated ungulates.
But enough horsing around. It would behoove us to saddle up for the most important political race of our time! Elephants Vs. Donkeys!
The Disney District: Dumbo Vs. Pinocchio
Representing the Elephants: Dumbo D. Eisenhower
Platform: "Together, we can make the economy fly!"
Representing the Donkeys: James K. Pinocchio
Platform: "I'm a man who nose how to get things done."
Sen. Pinocchio is a career politician; he knows how to spin a tale to convince anyone of anything. Gov. Dumbo, however, is an honest, hard-working man with humble beginnings. He's the man for the job.
The Thousand Acre Wood District: The Heffalump Vs. Eeyore
Representing the Elephants: Irving P. Heffalump
Platform: "I'm quick and slick and so sincere!"
Representing the Donkeys: Chester A. Eeyore
Platform: "It's not much of a policy, but I'm sort of attached to it."
Councilman Eeyore is your sure bet here; Irving Heffalump (and his running-mate J. Wellington Woozle) are all about flash, pizzazz, style over substance.
The CGD (Computer Generated District): Horton Vs. Donkey
Representing the Elephants: Horton Humphries
Platform: "An elephant's faithful: one hundred percent (with a two percent margin of error)."
Representing the Donkeys: Lyndonkey B. Johnson
Platform: "I'm making waffles... for America!"
This is the closest race so far — both candidates have exhibited integrity, ambition, and dedication. But when it comes down to it, Alderman Horton is the only one with the knowhow, determination, and good relationship with Whoville, to keep our country running smoothly.
The District of Sidekickery: Shep from George of the Jungle Vs. Baba Looey
Representing the Elephants: Jack "Shep" Shephard
Platform: "Speak softly, but carry a big milkbone."
Representing the Donkeys: Robert Louis II
Platform: "El Kabong!"
A clear winner, Deputy Louis has a background in law enforcement, favoring peace over force. Dr. Shepherd is more of the rough-'n'-ready, hotheaded type... no place for that in the Oval Office (nor is there actually physical room for him).
The Rare Disorders District: Elephant Man Vs. Julien Donkey-Boy
Representing the Elephants: John "Amerricka" Merrick
Platform: "I am not an animal! I am a president!"
Representing the Donkeys: Julien "The King" Donkeyson
Platform: "Who am I? ... Your next leader, that's who!"
A tough one, but Mayor John Merrick might inch out his counterpart by a few points. For one, he doesn't suffer from schizophrenia. Also, David Lynch is slightly less of a nut than Harmony Korine. Slightly.
The Simpson Districts: Stampy from The Simpsons Vs. Duffy, the Legendary Anzac Donkey Who Helped Soldier John Kirkpatrick Simpson Save a Bunch of People Back Around World War I
Representing the Elephants: Ulysses Stampson Grant
Platform: "A noble spirit embiggens the smallest man... or the largest elephant."
Representing the Elephants: J. K. Duffingham
Platform: "I'm bringing the Anzac legend to life!"
Gen. Duffingham gets the win here for one simple, steady reason: he actually existed. Also, Stampy (much like some people) is just kind of a jerk.
The District of Miscellanium: The Giant Elephant from 300 Vs. Donkey Kong
Representing the Elephants: Spiro A. LeFant
Platform: "I'll stomp out rising taxes!"
Representing the Donkeys: Donald K. Kongsbury
Platform: "I've got a barrel of new ideas for this country."
Finally, Sen. Donkey Kong takes it. He's an American hero, defending the world against crocodiles, winning tirelessly in go-kart races, and associating diplomatically with both Maj. M. Mario and King Bowser of the Koopa Empire.
[Photo Credits: Disney, 20th Century Fox, Dreamworks, Hannah-Barbera, Paramount Pictures, Fine Line Features, Fox, AWM.gov, Warner Bros., Nintendo]
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Anthony Bourdain is, without a doubt, the punk rock travel show host and celebrity chef. No matter how many TV series he hosts, cooking classes he teaches, books he writes, and comics he authors, he doesn't subscribe to any genre — anything and everything he does is very specifically Bourdainian. So that's why the fact that his first episode of the final season of No Reservations takes place at the "hipster apocalypse" that is Austin's annual South by Southwest music festival (heck, he even posed for the picture above, alongside staple indie band Sleigh Bells) may have his fans scratching their heads. Luckily, Bourdain took some time to chat with Hollywood.com and explain the reasoning behind the choice. He also talks about why he's switching to CNN, as well as his "ironic" status as a celebrity chef and how the Kardashians are ruining cooking shows for everyone... well, sort of.
Hollywood.com: You start off this last season of No Reservations in Austin at South by Southwest. It’s a hipster smorgasbord there. Was it your idea to start off there?
Anthony Bourdain: We’ve done the show in Saudi Arabia and in many ways – I’m not saying it’s "enemy territory" – but in a lot of ways it’s a completely different culture. It’s just not my natural environment. You know, hipster apocalypse. But my crew, we’re very tight. The camera people, the post-production and production people. And we are all active users of the social media, both for fun and [because] it’s really part of the process of making the show. So we were invited to do a panel at South by Southwest. So already, we were going to be there, doing a panel during South by Southwest. I’m a guy who likes music, I like Austin a whole hell of a lot, and I thought this was a good opportunity to tell an interesting story in an interesting place. And I think the contrast between a crotchety guy in his 50s and a bunch of hipsters – this could be entertaining. It also points at what I’ve sort of reluctantly come around to believe, that for all of the humor to be had at their expense, the movement and the direction of gastronomy and even fine dining right now is very much hipster-driven. Might you find yourself exploring the Williamsburg neighborhood in Brooklyn at some point?
The last show, our last show. Look, it’s an inevitability. To end a series without having explored Brooklyn, right next door to my own town, would have been an egregious oversight. It would have been snobbery and willful blindness and stupidity. I’ve made shows in gun country, Red State America, and some of it in Saudi Arabia, in socialist Nicaragua. I guess I should, I think I could probably handle the culture clash in Brooklyn. Especially due to the fact that so many exciting things are happening out there foodwise. Was there a “bucket list” going into the last season?
There’s always sort of a list in my head of things I’d like to do if the opportunity presents itself. I mean, I met Ludo Levevbre at Top Chef a few years ago, and I asking him where he was from and he said, ‘A small town in Burgundy.’ And right away, I said, ‘Oh, we should do a show where we go together back to where you grew up. That would be a great show.’ So, we did that this year. Going back, with Chef Michael White, back to Emilia-Romagna in Italy, where he came up as a young chef. Those were on my list. My bucket list? I filled in my bucket list eight years ago. I’m kind of beyond that now. I’ve jumped out of a plane and I’ve been on The Simpsons and write for David Simon. There’s nowhere else to go but down. If I get hit by a car tomorrow, I’m not going to be laying there as I bleed out on the street, bemoaning that I never got a chance to live. With being on CNN, there’s a show I’m looking forward to doing, they will be able to enable me to ... go up the Congo River. That is on my bucket list. Is that for sure or is that something you’re trying to get going with them?
It’s for sure that sooner or later. With an organization like CNN, I will get that done. I’ve been trying to do it for years. Is that the appeal of switching over to CNN? The fact that they can offer these opportunities to you?
They’re a worldwide news organization with a structure on the ground and experienced connections. Their ability research, to provide experienced professionals on the ground, like in the Congo – they’ve sent reporters there, they’ve done stories there. They know how to get things done. That’s a huge, very attractive feature of CNN. Also the fact that show will air simultaneously all over the world as opposed to being sold piece-mail to various networks all over the world – I like that people like our show in Malaysia, and Singapore, and Taipei, and Latin America, and we don’t have to wait two years to see how they like the show now. It’s nice knowing, "Did we do it right or did we screw it up?" Because we hear those things right away. It’s like, "How could you come to Singapore and not eat Chicken-rice?" In the past, and in your book, you’ve talked about the idea of the celebrity chef and how that’s not your thing, but it’s kind of interesting now that you’re arguably more famous than many "celebrity chefs" because of your anti-celebrity standpoint. What do you make of that?
Irony sucks, but there it is. I’ve gotten used to the fact that I’ve become part of the problem. Do you think that maybe instead of "becoming part of the problem," you’re actually offering a better way of going about the celebrity chef idea?
When I wake up every day, I don’t look in the mirror and say, "Okay, today, I am going to be sure to not be a role model, not be an advocate." TV has allowed me — whatever my job is, it’s allowed me to see the world, work with a lot of really interesting people, and just do a lot of cool stuff, and have an interesting time, have a fun time. And at the end of the day, amass interesting stories to tell. That’s what it’s all about for me. And having woke up for much of my younger, previous life, I don’t like to wake up ashamed of what I did the night before. So whatever I do, I try hard to not do anything today that I might feel ashamed of tomorrow. Hence, you don’t see the pots and pans line. I don’t have a spice mix. There aren’t Anthony Bourdain flame-encrusted knives. There’s no merch. That’s not integrity on my part; it’s vanity. I just – no can do. Are there any food-themed shows that you like to watch or can stand to watch?
I do think there are shows that are valuable. I don’t want to live in Ina Garten’s world, necessarily, but I think she knows how to cook. If you watch Ina Garten’s show, chances are at the end of the day, you’ll be better at cooking chicken than you were before. That’s not necessarily the case with a lot of cooking shows. I sorely miss Mario Batali’s Molto Mario show. I thought that was a terrific standard for a cooking show. I thought that was good for the world. I like Eric Ripert’s show, his new one … Look, it’s possible. I think the instinct to give people what they want is a really fatal one when you’re trying to make good television. It’s something I’ve tried to never think about. Whether it’s books or anything else, I never sit down and think, "What do my fans expect? What do they like, what do they want?" That’s not how I got here. I got here by doing the other thing. I try to make television that’s interesting to me and tell stories that are interesting to me and the people that I like working with ... I’ll do the very best I can at it. And if people like that, that’s fantastic. I’ve talked to cooking experts for another piece a while back, and many of them noted that the problem with a lot of the shows on Food Network and similar networks is that they perpetuate myths about cooking. Do you think that problem exists? Do you see it as a problem?
With the language of television right now, there’s sort of a Kardashian-ization of everything. There’s this notion on a lot of shows that there’s no cooking without drama. It’s not enough to have people cook their hearts as best as they can anymore, they have to be rolling around on the floor, tearing each other’s hair extension out … People are trying to do what works. They’re trying to squeeze drama into something … Good cooking is not enough. That decision was clearly made a long time ago … They want drama, they want heart-wrenching personal backstories, they want a shouting chef screaming at people to the extent that that perpetuates stereotypes? Sure. At the end of the day, people actually care a little more about who’s cooking than they used to. Being a chef, being a cook enjoys a social status it did not when I started out for sure – when it was dead-end position for low-lifes. Now there’s a certain glamor attached, to the extent that people walk into a restaurants now and are actually interested in what the chef thinks they should eat. That’s a positive result of even the worst food television. You’re an expert on all things New York and there’s a concept emerging now that more and more TV shows are taking place here, and that’s this phenomenon of trying to experience like a real, authentic New York night. Do you think that that still exists? And if so, what do you think that looks like?
Look, New York is at its most authentic in the morning. Going to Russ and Daughters or Barney Greengrass and getting a toasted bagel or a bialy with smoked fish and cream cheese – the New York breakfast, the New York deli. Sure, those things exist. Whatever the restaurant of the moment is, that’s rarely going to be what you’d call a real New York anything. Do you think the real New York is ever shown in media?
There’s a lot of really vibrant, exciting stuff going on right now. I mean, anything April Bloomfied [who started The Spotted Pig] or David Chang [who started Momofuku] does is going to be interesting. There are a lot of chefs out there doing really exciting things. Andy Ricker has opened up a New York chain of a Portland Thai restaurant – that’s about as New York as it gets. New York was always about people from someplace else coming to New York and doing something cool and interesting that New Yorkers enjoy. It’s a pretty low threshold to be considered a New Yorker or to be considered "real New York" because we’ve always been such a melting pot. And if you’re crazy enough to love New York after two years here, that pretty much makes you a New Yorker. But old school New York? Sure. There are still old school, unchanged-by-time New York institutions that seem to be hanging on. I want to touch on the comic book you wrote, Get Jiro. You went to Comic-Con for it this year. Was that the first time you had been?
I was at Comic-Con in 1976 – it had to be one of the first ones in New York – when I was a young, wannabe comic artist. But yeah, since then, it was my first, and I had a ridiculously good time. I fully exercised my inner nerd and comic enthusiast. I had so much fun. Having been there in the ‘70s, what do you make of what Comic-Con has become now that it’s focused on a lot of TV and big studio films?
I don’t care. For me, it was a gigantic space filled with vendors selling really, really cool products and beautifully bound, in-color graphic works of art. All in one place. So, bigger is better as far as I’m concerned. And I was treated really well. I was concerned that I’d be treated as sort of an outsider. I put a mask on at one point and walked around the floor, buying comic books. I just had the best time. So much fun. And it’s a boy’s dream come true; I’m in my 50s and yet, I just did a comic book. That’s so awesome. Did you have any favorite purchases from walking the floor?
Yes. I got an anthology of classic Richard Corben works … I bought a new Gary Larson book. I reconstituted my old underground comics collection of late ‘60s and ‘70s SAP comics. So I was very, very pleased with my purchases. Would you ever be interested in turning your comic book into a TV series or a movie?
I have very low expectations for any of these things. I don’t care. I just don’t care. I don’t care at all. I’d like to do another comic book because it was really, really fun and deeply satisfying to write a story and work on it and see it come together with the art and the structure and the color. It was very creatively satisfying for me, and ridiculously so. I’d do another graphic novel in a minute. Whether I ever make a dime, or it ever becomes a movie or TV show, I really could care less … I very much hope to [do another comic]. The final season of No Reservations premieres Sept. 3 at 9 PM ET on Travel Channel. Follow Kelsea on Twitter @KelseaStahler [Photo Credit: Travel Channel (2)] More: Why Anthony Bourdain's 'The Layover' Actually Works Anthony Bourdain Leaves Travel for CNN: Will He Take His Edge With Him? Video: Watch Anthony Bourdain Eat Bull Testicles

While you're scrounging together enough spare change to afford a cable subscription to satisfy your Real Housewives of Beverly Hills cravings, Camille Grammer is occupied with selling her Malibu mansion. The asking price? I promise, you'll be happier if you just stop reading now. Still want to know? Fine, but I warned you: $17.9 million.
"Did... did he put the decimal in the wrong place?" you ask. No, and I'd thank you not to question my typography. The simple fact is that the Bravo! network star is shooting for almost a clean 18 for the house she and ex-husband Kelsey Grammer bought back when they got married in 1997. That can buy you a whole lot of tossed salads and scrambled eggs.
So what exactly makes this house $17.9 million-worthy? Does it come with regular visits from Lisa Vanderpump, or the dog from Frasier? No, but it does have a good amount going for it:
Bedrooms: Nine, plus a master suite with an ocean view... if nine of your friends wanted to spend the night, and you really didn't want to see or speak to them (usually, the kind of friends who vocalize desire to stay overnight at your place are the kind of friends you're better off ignoring), everyone would win.
Bathrooms: 12... "Aw man! I'm late for work and still need to shower, but 11 people are using the bathroom right now." No longer a problem!
Kitchen: It was designed by Wolfgang freakin' Puck. It doesn't even matter if you know how to cook, your food is going to taste amazing by proxy.
Library: "Aw man! I really want to delve into the vibrant world of Mrs. Dalloway, but I'm averse to making conversation with embittered elderly women." No longer a problem!
Guesthouse: Oh yes... there's a guest house. And it comes with multiple bedrooms, a sitting room, a rooftop deck, a private patio, and a five-car garage. Name something you can't do presently; it's no longer a problem.
Pool: For swimming.
Tennis court: For serving.
Equestrian riding ring and nine-stall barn: For Betty Drapering.
Monet lily pond: For just rubbing your visitors' faces in it.
So now that your two-bedroom apartment with a fire escape and built in asbestos is forever ruined for you, how are you going to come up with the $17.9 million to snag the Grammer place? Remember: you can only sell one kidney. Well... one of your own, anyway...
[Photo Credit: David Edwards/Daily Celeb]
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David Koepp is no stranger to a solid action movie — he was the screenwriter for Jurassic Park, Mission: Impossible, and Spider-Man before he turned his eye towards directing — and actor Joseph Gordon-Levitt (Inception, 500 Days of Summer, and 2012's The Dark Knight Rises) is slowly becoming a familiar name paired with Hollywood's best movies, big and small. The duo of creatives have joined forces for this week's Premium Rush, a chase thriller that leaves behind the usual over-the-top tropes in favor of crazy stunts and a unique world: New York City bike messengering. If anyone could pull it off, it was these two, and the off-beat premise works. Koepp's intimate action flick wows with on-location stunts and zippy dialogue to match, with Gordon-Levitt and an army of stuntmen making it all look easy as pie.
Turns out, Premium Rush wasn't so easy to actually get in the can. Unless you think flying through the window of a taxi cab is "easy." I sat down with Koepp and Gordon-Levitt to discuss how the two brought the innovative stunts to life without spending too many days in the hospital:
Hollywood.com: Premium Rush is about the thrills of zipping through New York City traffic on a bike, but it's also about being absolutely in love with that feeling. It made wonder: do the two of you remember when you learned to ride a bike?
David Koepp: I remember vividly my kids learning to ride, because it happened recently. I remember my son Nick was learning to ride the bike and it was just killing him. He just kept falling. He could hold the bike, but he couldn't stay up. It was one wipeout after another. I remember he brought it back to the house at one point and threw it on the porch and said, 'Don't ever make me go on this horror machine again!' I love 'horror machine.' He got it one day.
Joseph Gordon-Levitt: I was probably six or seven, something like that. Growing up with an older brother… they can do everything, you can't do anything! There was that. I remember it as a truly magic moment. And I mean magic as in unexplainable. You don't know why now it's working and ten minutes ago it wasn't. It's not like you figured it out in your conscious head or anything. Now it works, now you can do it. So quickly this thing that was impossible… you don't remember why you would fall over. It's just natural.
And then (no pun intended) you feel 'the rush.' Which is why I love your character in the film. He just loves biking so damn much. David, how did you become enthralled by this love and the world of biking?
Koepp: I live [in New York City] and you see bike messengers and they almost hit you all the time. And you wonder, who are those a**holes? And I like a movie that takes place in a contained period of time or a contained place. I had this image in my head of what I called a 'map movie.' I wanted to see a map and a guy who had to get from point A to point B.
Gordon-Levitt: So that's the reason the movie takes place between Harlem and Chinatown?
Koepp: Kinda [Laughs]. It takes you all the way down and all the way across. Columbia [University] and Chinatown, and that's how those evolved among other reasons, then I wanted him to do it on a bike because I hadn't seen bikes going through the streets of New York and it seemed like an incredible cinematic opportunity that I hadn't seen since Quicksilver [dir. Thomas Michael Donnelly, 1986].
I was surprised to see the bike messengering community being so close-knit and vivid.
Koepp: They're really tight. Online there is the New York Bike Messenger Association and I just started reading that. It's a really tight community. So we then started meeting a few of them. As advisors for the movie, but they're also in the movie. What I loved about it is that they have an ethos, and a really simple one. 'I want to ride my bike.' And that's it. You look for more, but it isn't there. 'I want to ride my bike. If I can get paid to do it, all the better.'
Gordon-Levitt: I found strong sentiments in that community of environmentalism — more bikes, less cars. I found a lot of people really quite conscious of the fact that riding a bike, which comes from a basic love from when you're a kid… that if more people rode bikes and less people drove cars, that the world would be a better place.
It's not a hobby, it's a lifestyle.
Gordon-Levitt: And a statement.
We featured a video on the site where real life bike messenger/your stuntman Austin Horse…
Koepp: Isn't that a great name?
The perfect stuntman name, in fact. Watching him speak, Horse exudes that lifestyle. Did you learn about the biker character through him? Did he bleed into the performance?
Gordon-Levitt: Certainly. He's a very different guy than the character I play in the movie. Austin is gentle, mild-mannered and extremely considerate, whereas Wilee is more of a balls-out punk rocker on two wheels. But once Austin gets on a bike… it's kind of funny to see because he's a modest dude who gets on a bike and he's like a superhero. He turns heads. I rode around with him — we'd go for rides on the weekends — and people turn their heads and watch him.
Koepp: The first time we shot him, he said, 'How fast do you want me to go?' And we said, 'Well, go as fast as you can go.' And he says, 'Well, I can go pretty fast.' And I thought: 'We have cars.' So it's take one and he was just gone. There was no prayer of keeping up with him. So I say, 'Cut… eh, take a little off it.' [Laughs] A motorcycle would do much better weaving with him. There's a fluidity to it that's amazing.
Gordon-Levitt: It's beautiful. Anytime you see someone do something with a God-given talent, when they're that excellent at it… and that's at the core of these action scenes. It's not some grand, CG whatever. It's about really talented guys doing things for real.
Koepp: Being able to admire what real people can do. It was important that it was a stunt movie. The actors always wanted to do more than we would let them do. I think it's an incredible physical accomplishment.
Reality is a key component of this movie. What were the logistics of shooting on the actual streets of New York, trying to pull off stunts while surrounded by the hustle and bustle of the city?
Koepp: It was a nightmare. It was really, really, really f**king hard. I'm happy when people say, 'It looked like so much fun!' because that means you didn't see us sweat. The city is tough. It's uncontrollable. A New York City 'lock up' doesn't exist. You think you have it but then a diplomat drives over the cones in your lane and makes Joe crash. Or a SWAT team barrels through [laughs]. There's never total control.
How does that work for the acting side of things? There is a lot of talking and riding in this movie. Is having an element of danger helpful to the performance?
Koepp: [To Gordon-Levitt] You know, we never talked about that.
Gordon-Levitt: The time when the SWAT team barreled through was not helpful for my performance [laughs].
Yikes, no actual accidents I'd hope.
Gordon-Levitt: Oh no, there were accidents. One really bad one.
Koepp: Do you still have that? [Gordon-Levitt lifts up his right arm to reveal a scar.] Oh. Sorry about that.
Good Lord.
Gordon-Levitt: This is 11 of the stitches. The other 21 of them are scattered around. What's cool though is that you actually put it at the end of the movie after the credits.
Koepp: It was a scary moment. So we had three lanes of 6th Avenue closed. Joe's riding uptown and all there is is our stunt cars and our stunt drivers. And the rule is the stunt cars can't change lanes — only the guy on the bike can change lanes. He's got weavability and no one is going to cut him off. So a diplomat in an SUV in the free lanes decides he doesn't like the traffic. So he drives over the cones and into our lane, right as we call action. So here comes Joe at 30 mph and the guy cuts him off. Then the diplomat, who I'm sure is an a**hole from some awful country (although we never found out which), is also angry and decides he's going to get out of his car and yell at people. Now Joe has to use his Bike-O-Vision [Wilee's stylistic Spidey Sense in Premium Rush]: he can either go straight and hit the guy (doesn't seem like a good idea), swerve to the right into live traffic where they aren't expecting you, or go this way where you can't tell what's up there but, fingers crossed, there's nothing and you'll be OK. So you go with that. Except there's a cab. He crashes through the back windshield of the cab and cut himself to ribbons. It was awful, because there was about 30 seconds between his crash and the moment I hear it, so I have to go check if he's dead or not. That was the worst part for me.
Gordon-Levitt: You get so flooded with adrenaline that I didn't feel any pain at all. Not until later that night. I flew off the handlebars and went through the windshield and I was immediately like, 'Oh s**t, sorry! I'm fine.' And then you look at it and you're like, 'Oh Jesus Christ, look at that!' Dave comes running up really scared, really nervous. I told him, 'You have to record this!' I cajoled him, after lots of convincing, to take out his phone and shoot some video of me bleeding and the broken glass. To my delight, when I saw the movie he actually put the footage in after the credits.
Koepp: When you got it….
Follow Matt Patches on Twitter @misterpatches
[Photo Credit: Sony Pictures/Premium Rush Tumblr]
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You know that video that went around a few months ago where Dax Shepard presented Kristen Bell a sloth for a little birthday cuddle and she promptly had an adorable crying fit? Instead of catching Hit and Run you're better off just watching that for 100 minutes interspersed with the car chase scenes from your favorite action movie.
Hit and Run stars the real-life couple as a Mutt and Jeff pair living in a small town in California. Annie (Bell) is a professor who's presented with the opportunity for a big city gig at Stanford. The catch is it's in Los Angeles — and her beloved Charlie (Shepard) can't leave the city. Charlie Bronson is in the Witness Protection Plan for testifying against his bank robbin' buddies after a heist gone awry. Charlie was merely the getaway driver so his hands are relatively clean but he's on his former best friend's sh*tlist for ratting them out. Plus Annie's ex Gil (Michael Rosenbaum) is obsessed with winning her back. Add in prison rape jokes Bradley Cooper with a terrible wig of white boy dreads and Tom Arnold as That Guy the annoyingly goofy Federal Marshall assigned to protect Charlie and who only succeeds in crashing his car and discharging his gun and you've got a headache of a movie.
Besides its uncomfortably lingering jabs at prison Hit and Run boasts a number of distasteful attempts at humor. It's possible to make almost anything funny but you must have talent to do it. This is not the case here. Kristin Chenoweth has a small part as Debbie Annie's boss who encourages Annie to take the job because she deserves it. Debbie doesn't because she got trashed a lot in college was date raped had an abortion and went to a state school. There's another running joke about a Grindr-like app and a gay cop — because it's funny for a cop to be gay. The characters keep accidentally barging into a hotel room full of swingers that are of various ages and body types because God forbid people who don't look like Bell or Shepard have sex.
The only enjoyable aspect of the movie is the chemistry between Shepard and Bell although one could hazard a guess that their little fights are based on real-life tiffs. (Based on the movie's sensibilities it wouldn't be a far reach to imagine that Bell probably did have to teach Shepard why it wasn't okay to say things were "gay" instead of just uncool.) Their arguments about the present moment versus the past are interesting enough but it seems pretty dumb that she was fine with him being in protective custody for who-knows-what-crime only to suddenly freak out when she finds out what his crime really was or that he had a life before her (including a fiancée). How can she suddenly get mad at him for misrepresenting himself when she knew the whole time he was on the run from something? His new name is Charlie Bronson! Come on!
There are so many problems with this story so many moments that fall flat so many unfunny jokes beaten to death so many moments of fuzzy logic that it's confounding how it was actually made. Shepard wrote the screenplay and co-directed with David Palmer and it looks serviceable enough. But someone needs to get the lovable and lovely Kristen Bell a new agent… yesterday.

The tragic and shocking passing of acclaimed director Tony Scott (Top Gun, True Romance, Crimson Tide, Enemy of the State, Man on Fire) has left Hollywood in a state of disbelief and mourning. The 68-year-old, whose illustrious career included producer on films like Prometheus and The Grey and executive producer on shows such as The Good Wife and Numb3rs, died Sunday when he fatally jumped "without hesitation" off the Vincent Thomas Bridge in San Pedro, Calif. He reportedly left a suicide note at his office. (Latest reports reveal that the filmmaker suffered from inoperable brain cancer prior to his suicide.) Scott, brother of fellow legendary director Ridley Scott, is survived by wife and their two young sons.
While so many have struggled to find the right words to comprehend his passing and pay tribute to his impact on Hollywood, some of Scott's friends, colleagues, and admirers have given statements and others took to their Twitter to express their feelings on the news.
In a statement released to Hollywood.com, Oscar winner Denzel Washington, who worked with Scott on five projects, including his last film Unstoppable said, "Tony Scott was a great director, a genuine friend and it is unfathomable to think that he is now gone. He had a tremendous passion for life and for the art of filmmaking and was able to share this passion with all of us through his cinematic brilliance. My family sends their prayers and deepest condolences to the entire Scott family."
According to E!, Top Gun star Tom Cruise said in a statement, "Tony was my dear friend and I will really miss him. He was a creative visionary whose mark on film is immeasurable. My deepest sorrow and thoughts are with his family at this time." Nicole Kidman, who worked with Cruise and Scott on Days of Thunder stated, "I'm so so sad. I loved Tony and he was always so good to me. He will be deeply missed by so many of us that knew him."
You can read a sampling of what Hollywood had to say on Twitter below.
Love ya Tony, always have, always will— Christian Slater (@ChristianSlate4) August 20, 2012
No more Tony Scott movies. Tragic day— Ron Howard (@RealRonHoward) August 20, 2012
RIP Tony. You were the kindest film director I ever worked for. You will be missed. ow.ly/d5Ngo— Val Kilmer (@ValEKilmer) August 20, 2012
There hasnt been 1 day since it came out that some1 doesnt say to me"I love #TrueRomance" Tony Scott was a sweet enthusiastic &amp; lovin man— Michael Rapaport (@MichaelRapaport) August 20, 2012
Tony Scott. Damn. Great knowing you, buddy. Thanks for the inspiration, advice, encouragement, and the decades of great entertainment.— Robert Rodriguez (@Rodriguez) August 20, 2012
So sad to hear the news about Tony Scott. His movies made growing up more fun for me. My prayers and condolences to the Scott family.— Justin Timberlake(@jtimberlake) August 20, 2012
I'm deeply shocked and saddened by the news of Tony Scott's death and my thoughts and prayers are with his family tonight.— Josh Charles (@MrJoshCharles) August 20, 2012
Such sad news about Tony Scott. Heartfelt condolences to his family and friends.— Jon Favreau (@Jon_Favreau) August 20, 2012
Deeply saddened to hear the news about Tony Scott. A fine film-maker and the most charming, modest man.— Stephen Fry (@stephenfry) August 20, 2012
So very, very sorry to hear of the death of Tony Scott. A terrible, terrible loss of a truly talented, brilliant man.— Martha Plimpton (@MarthaPlimpton) August 20, 2012
Awww Tony.Wish you had felt there was a way to keep going.What a sad waste.My thoughts go out to his wife and beautiful children.— Duncan Jones (@ManMadeMoon) August 20, 2012
RIP Tony Scott. Damn. He was a huge inspiration. Very sad.— James Gunn (@JamesGunn) August 20, 2012
Saddened by the death of Tony Scott. A wonderful film maker and a funny, sweet guy. My condolences to his family.— Susan Sarandon (@SusanSarandon) August 20, 2012
The death of Tony Scott is shocking and saddening. He was an inspired craftsman.— Roger Ebert (@ebertchicago) August 20, 2012
So sorry to hear of Tony Scott's passing. Such a sad loss. Condolences to his family, friends and fans of his films.— yvette nicole brown (@yvettenbrown) August 20, 2012
Collaborating with the great Tony Scott was one of the most rewarding experiences of my life. My thoughts are with his family tonight.— Richard Kelly (@JRichardKelly) August 20, 2012
Devastated by the death of Tony Scott. Just watched True Romance 1 of my top 5 fav movies ever a few nights ago. #RIP— Dane Cook (@danecook) August 20, 2012
I've been extremely fortunate in my career. A career I wouldn't have without Tony Scott's persistence, love and relentless support.— Joe Carnahan (@carnojoe) August 20, 2012
Taking a moment to reflect on Tony Scott's life &amp; work! My sympathies to his family. Feeling the loss!— Samuel L. Jackson (@SamuelLJackson) August 20, 2012
My heart stopped when I heard of the tragic death of 1 of r most inspiring directors, Tony Scott. Rest In Peace Tony. U will be missd so...— Adam Shankman (@adammshankman) August 20, 2012
Tony Scott was incredibly encouraging to me at an early stage of my career. He was generous, gregarious &amp; immensely talented. Sadness.— mark romanek (@markromanek) August 20, 2012
True Romance. The scene with Christopher Walken and Dennis Hopper in a Detroit railyard is a classic. RIP Tony Scott.— Michael Moore (@MMFlint) August 20, 2012
Tony Scott director of my favorite movie man on fire." I wish you had moretime "— Chris Rock (@chrisrock) August 20, 2012
So sad to hear about Tony Scott. A master of grand action, nail biting pace and atmosphere. A real loss to film making.— Simon Pegg (@simonpegg) August 20, 2012
It's bittersweet to see the overwhelming praise for Tony Scott's work today. It's very much deserved, but sad he didn't hear it for himself.— edgarwright (@edgarwright) August 20, 2012
#RIPTONYSCOTTBig fan. Thank you for all of your movies. Sad day.— Peter Facinelli (@peterfacinelli) August 20, 2012
Tony Scott, rest in peace. How horribly sad.— Kat Dennings (@OfficialKat) August 20, 2012
RIP Tony Scott. Never knew him but always heard nothing but great things about him and I loved his films. Terrible loss for cinema.— Eli Roth (@eliroth) August 20, 2012
Rest in Peace...Tony Scott— Dylan McDermott (@DylanMcDermott) August 20, 2012
Just so sad about Tony Scott. R.I.P.— David Boreanaz (@David_Boreanaz) August 20, 2012
Two of my favorite movies of all time, "true romance" and "the hunger" #RIPTONYSCOTT— Evan Rachel Wood (@evanrachelwood) August 20, 2012
Shocked.Tony Scott is a legend.Tragic and sad day.Thoughts and prayers for his family.— Marc Webb (@MarcW) August 20, 2012
RIP mr. Tony Scott. :(— Kristin Chenoweth (@KChenoweth) August 20, 2012
"I make a movie because it's something that inspires me" ~ Tony Scott 6/21/44 - 8/19/12 Your movies inspired me..— Dwayne Johnson (@TheRock) August 20, 2012
met tony scott once. thought we would meet again. saddened by news of his passing. grateful for the work he leaves behind. peace to you sir.— Zachary Quinto (@ZacharyQuinto) August 20, 2012
[Photo credit: WENN.com] More: Top Gun Director Tony Scott Commits Suicide Tony Scott Had Inoperable Brain Cancer – REPORT Remembering Tony Scott and His Cinedmatic Legacy — VIDEOS

Blossom and The Big Bang Theory star Mayim Bialik was involved in a serious car accident in Los Angeles on Wednesday, Hollywood.com has confirmed. LAPD spokesperson Richard French told Hollywood.com that the 36-year-old actress was driving in L.A. when a car with three tourists from Chile turned into her vehicle at Hollywood Boulevard. "Just before noon there was a party traveling northbound on La Brea, approaching Hollywood [Blvd.]," he said. "There were three people in the car. They turned westbound onto Hollywood Boulevard, and directly into her car. It was a near-head-on collision."
French also confirmed reports that the actress sustained a serious injury to her left hand. "She suffered severe lacerations to her left hand and thumb, and was transported to a local hospital where she was admitted for treatment," he said. "The three others suffered minor injuries and did not go to the hospital. There was no crime involved; [it was] just one of many accidents that happen throughout the city." TMZ reported earlier that Bialik may lose a finger.
UPDATE: Mayim Bialik has tweeted about the accident, reassuring fans about the prognosis of her hand and fingers. See below.
(husband typing) In pain but will keep all my fingers. If u wanna See pre accident me watch The Soup tonight lol #joelmchale @thesoup— Mayim Bialik (@missmayim) August 15, 2012
Laura Ackermann released the following update on Bialik's condition: "Mayim Bialik was in a minor car accident today. A representative close to her spoke with her and she is doing fine and will be returning to work tomorrow. She thanks everyone for their concern."
Follow Shaunna on Twitter @HWShaunna
[PHOTO CREDIT: Wenn]
(Reporting by Alicia Lutes)

The X-Files star now takes more care to steer his mum away from harrowing scenes - and admits he has warned her not to watch his racy TV drama Californication.
He says, "I did a movie called The Rapture a long time ago and I was naked in that and I got killed and it traumatised her.
"It was one of my first jobs, so of course I was very proud of it and I wanted her to go and see it... and it didn't occur to me that maybe it's not cool for a parent to go and see her son get murdered.
"I was like, 'How did you like the movie?' and she said, 'I thought it was fine, but I can't go see you if you get naked or you get killed.'"
And he's keen for his kids with ex-wife Tea Leoni not to see Californication - until after he's dead.
He adds, "I'm gonna put it in a time capsule and when I'm dead... It's gonna be, like, in my will - 'Now you can watch Californication. This is how you went through college.'"